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April 23 2010

Book now!

Louise Bourgeois gets intimate in Bristol, arte povera comes to London and Manchester stages a Dorothy Bohm retrospective. Here are the dates for your artistic diary ...

Art Cologne 2010 Highlights / Part 1

There are many highlights to be seen at this year’s Art Cologne, 44. Internationaler Kunstmarkt in Cologne, Germany. Galerie Thomas for example shows a large painting by Joan Mitchell and an orange colored sculpture by Wim Delvoye; and Galerie Karsten Greve focuses on works by Louise Bourgeois.

Art Cologne 2010 Highlights, part 1. Cologne / Germany, April 20, 2010. Interviews: Bettina Krogemann.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.

November 20 2009

Body shock

Louise Bourgeois brings her bronzes to London, Luke Fowler is all ears in Glasgow, and Nottingham grunts a ballsy ballad to blokedom

After Awkward Objects, Hauser & Wirth, London

There's an eruption of bulges in After Awkward Objects, at London's Hauser & Wirth, an exhibition of work by feminist-art titans Louise Bourgeois, Lynda Benglis and Alina Szapocznikow. Benglis's gorgeous bronzes resembling both molten lava and gluey body fluids clearly share a formal kinship with Bourgeois's anthropomorphic dangly bits and Szapocznikow's "tumour sculptures". Yet there's a marked difference in what spurred these three artists. While the show focuses on the 1960s and 70s, a time of seismic social change, Bourgeois had been going it alone with her personal Freudian work for years. Dealing with both private and cultural trauma, Szapocznikow was a concentration-camp survivor coming to terms with breast cancer, whose work, until recently, was rarely shown outside Europe. Benglis's aggressively counter-minimalist art, on the other hand, was a brazen retort to the men's club of the New York art world.

New Contemporaries, A Foundation, London

New Contemporaries 09, Britain's oldest annual show of young art, has rolled into London's A Foundation, fresh-faced from its northern debut. Comprising work by 48 recent art-school graduates selected from thousands of applicants, it provides a telling insight into what is influencing a new generation. Of the lucky 48, recent Royal College graduate and sculptor Nicolas Deshayes is already being spoken of as a rising star. His display of aluminium desk lamps, positioned like so many elegantly hooked claws, suggests a fluency in the seductive language of design. One of the show's highlights, though, is photography – perhaps unsurprisingly, given that Wolfgang Tillmans is among this year's four selectors. Frances Blythe's small black-and-white shots of nighttime suburbia inject bland domesticity with a deadpan sort of horror. Konrad Pustola's images of Polish nightclubs' empty "dark rooms" – anonymous blacked-out spaces for random sex – are fascinating, if appallingly grim.

Luke Fowler, A Grammar for Listening, the Modern Institute, Glasgow

Luke Fowler is an artist best known for his elusive, jittery documentaries featuring eccentric rebel types. A Grammar for Listening, the results of a two-year project on show at Glasgow's Modern Institute, however, sees him moving away from personalities into more experiential territory, exploring the relationship between eyes and ears. Characteristically shot on scratchy, retro-romantic 16mm, a trilogy of films are complemented by Fowler's collaborations with sound artists. Eric La Casa describes his contributions, made in Scotland and Paris, as field recordings of "the geophonic exterior". Meanwhile, Lee Patterson's underwater recordings have given voice to fish, insects and plant life, offering a meditative reappraisal of what might otherwise be drops in the ocean.

Marcus Coates, Newlyn Gallery, Penzance

Having previously dressed up in a stag pelt and performed shamanic rituals in incongruous urban locations, or hollered football chants in the middle of the dawn chorus, Marcus Coates has certainly found his own way of expressing the rift between man and nature. Yet his crank antics knowingly balance the absurd with pathos and politics. Intelligent Design, for example, included in a show of his video and sound work at Newlyn Art Gallery in Penzance, is a 10-minute, almost static shot of two giant tortoises heroically trying to mate. However, their struggles are not prompted by passion so much as science: the result of a selective breeding programme. Designed to streamline their species' purity, it's a strategy with sinister echoes in the human world. The most recent work on show, Follow the Voice, is a distorted evolution of Darwin's book The Expression of Emotions in Man and Animals, marrying electronic sounds with animal cries.

Mark Pearson, Bar Vug Gum, Moot, Nottingham

Mark Pearson's show at Moot in Nottingham, Bar Vug Gum, has a Paleolithic grunt of a title. Channelling a specifically male tribal vibe, his brash sculpture runs the gamut from caveman accessories to the totems of more present-day clans. The exhibition's centrepiece is a monster karaoke machine, dripping in bright, blood-red paint, and constructed from giant speakers, crowned with deer antlers and adorned with Bavarian beer mugs, hung like votive offerings. Complementing this, there is of course a bar, plus a series of rough and ready-looking sculptures. Variously composed of timber, glosspaint, cardboard and packing tape, they stand a little dishevelled, like boozy sentries, looking for action. Pearson's misshapen memorials to unreconstructed blokedom are nothing if not ballsy, channelling throwback energies to exuberant effect. © Guardian News & Media Limited 2009 | Use of this content is subject to our Terms & Conditions | More Feeds

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